Ad hominem fallacy – “When you durst do it, that you were a man; and, to be more than what you were, you would, you would be so much more than a man.” (Act I. Scene 7. Lines 49-51. Page 176)
Chiasmus – “Fair is foul and foul is fair.” (Act I. Scene 1. Line 11. Page 162)
Motif – “What bloody man is that?” (Act 1. Scene 2. Line 1. Page 162)
Personification – “Doubtful it stood as two spent swimmers that do cling together and choke their art.” (Act I. Scene 2. Line 8-10. Page 162)
Colloquialism – “Anon” (Act I. Scene 1. Line 10. Page 162)
Juxtaposition – “So foul and fair a day I have not seen.” (Act I. Scene 3. Line 38. Page 165)
Assonance – “A drum, a drum, Macbeth doth come.” (Act I. Scene 3. Lines 30-31. Page 165)
Assonance – “Weary sev’ nights nine times nine shall he dwindle, peak and pine.” (Act I. Scene 3. Lines 22-23. Page 165)
Polysyndeton – “A sailor’s wife had chestnuts in her lap and munched, and munched, and munched.” (Act I. Scene 3. Lines 4-5. Page 165)
Isocolon – “Not so happy yet much happier.” (Act I. Scene 3. Line 66. Page 167)
Foreshadowing – “O never shall sun that morrow see!” (Act I. Scene 5. Lines 57-58. Page 173)
Simile – “But signs of nobleness, like stars, shall shine on all deservers. “ (Act I. Scene 4. Lines 41-42. Page 170)
Aside – “The Prince of Cumberland! That is a step on which I must fall down, or else o’er leap for in my it lies stars hide your fires; let nit light see my black and deep desires; I wink at the hand; yet let that be which the eye fears when it is done to see.” (Act I. Scene 4. Lines 48-53. Page 170)
Paradox – “Lesser than Macbeth and greater. Not so happy, yet much happier.” (Act I. Scene 3. Lines 65-66. Page 167)
Synecdoche – “Noble Banquo, that hast no less deserved, nor must be known no less to have done, let me enfold thee and hold thee to my heart.” (Act I. Scene 4. Lines 29-33. Page 170)
Metaphor – “True worthy Banquo; he is so valiant, and in his commendations I am fed; it is a banquet to me.” (Act I. Scene 4. Lines 54-56. Page 170.
Rhetorical Question – “And yet are on ‘t? Live you? Or are you ought that man may question?” (Act I. Scene 3. Lines 41-43. Page 165)
Consonance – “My thought whose murder is but fantastical shakes so my single state of man that function is smother in surmise and nothing is but what is not.” (Act I. Scene3. Lines 138-141. Page 168)
Rhetorical Question – “Say from whence you owe this strange intelligence?” (Act I. Scene 3. Lines 75-76. Page 167)
Personification – “But I am faint; my gashes cry for help.” (Act I. Scene 2. Line 42. Page 164)
Apostrophe – “I come graymalkin.” (Act I. Scene 1. Line 8. Page 162)
Atmosphere – “When shall we three meet again in thunder, lightning, or in rain? When the hurlyburly’s done, when the battle’s lost and won that will be ere the set of sun. Where the place? Upon the heath.” (Act I. Scene 1. Lines 1-7. Page 162)
Conflict (with himself) – “We will proceed no further in this business; he hath honored me of late and I have bought golden opinions from all sorts of people which would be more now in their newest gloss, not cast aside so soon.” (Act I. Scene 7. Lines 30-35. Page 175)
24.Satire – “What beast was it then that made you break this enterprise to me?” (Act I, Scene 7, Page 176, Lines 49-50). 25.Foil (Banquo balances Macbeth) – “But tis strange; and oftentimes to win us to our harm, the instruments of darkness tell us truths, win us with honest trifles, to betray’s in deepest consequence.” (Act I, Scene 3, Page 168, Lines 121-125). 26.Foreshadowing – “All hail, Macbeth, that shalt be king hereafter!” (Act I, Scene 3, Page 166, Line 50).
27.Alliteration – “This night’s great business into my dispatch, which shall to all our nights and days to come give solely sovereign sway and masterdom.” (Act I, Scene 5, Page 173, Lines 65-67). 28.Anastrophe – “Sleep shall neither night nor day hang upon his penthouse lid …” (Act I, Scene 3, Page 165, Lines 19-20). 29.Soliloquy – “They met me in the day of success; and I have learned by the perfectest report that they have more in them than mortal knowledge. When I burned in desire to question them further, they made themselves air, into which they vanished, Whiles I stood rapt in the wonder of it, came missives from the King, who all-hailed me ‘Thane of Cawdor’; by which title, before, these weird sisters saluted me, and referred me to the coming- on of time, with ‘Hail, king that shalt be! ….. “ (Act I, Scene 5, Pages 171-172, Lines 1-27). 30.Run-On Line - “Stars, hide your fires; let not light see my black and deep desires; the eye wink at the hand; yet let that be which the eye fears, when it is done, to see.” (Act I, Scene 4, Page 170, Lines 50-53). 31.Juxtaposition – “Look like the innocent flower, but be the serpent under it.” (Act I, Scene 5, Page 173, Lines 62-63).
32. Irony: "You should be women and yet y our beards forbid me to interpret that you are so." pg 166, Act I, Scene 2, lines 45-46
33. Metonomy: "Th temple-haunting martlet, does approve." pg 173, Act 1, Scene 6, lines 2-3
34. Colloquial:"Prithee, Peace." pg. 176, Act 1, Scene 7, line 46. 35. Simile: “And fortune on his damned quarrel smiling showed like a rebel’s whore.”Act 1, Scene 2, lines 14-15. Page 162-163
36. Metonymy: “Norway himself with terrible numbers assisted but that disloyal traitor…” Act 1, Scene 2, lines 50-51. Page 164 37. Inverted Syntax: “That seems to speak things strange.” Act 1, Scene 2, line 48, page 164. 38.Allusion: “Except they meant to bathe in reeking wounds or memorize another Golgotha, I cannot tell.” Act 1, Scene 2, lines 39-40, page 164. 39. Euphemism: “ He’s that coming most be provided for.” Act 1, Scene 5, line 6, page 173 40. Isocolon: “Look like the innocent flower, but be the serpent under it.” Act 1, Scene 5, lines 62-63. Page 173 41. Metonymy: “Golden round.” (Symbolizes a crown) Act 1, Scene 5, line 25, page 172. 42. Consonance: “My dearest partner of greatness, that thou mightst not lose the dues of rejoicing, by being ignorant of what greatness.” Act 1, Scene 5, lines 8-9, page 172.
Act I: Alden, Ashley, Brittany, Esther.
- Ad hominem fallacy – “When you durst do it, that you were a man; and, to be more than what you were, you would, you would be so much more than a man.” (Act I. Scene 7. Lines 49-51. Page 176)
- Chiasmus – “Fair is foul and foul is fair.” (Act I. Scene 1. Line 11. Page 162)
- Motif – “What bloody man is that?” (Act 1. Scene 2. Line 1. Page 162)
- Personification – “Doubtful it stood as two spent swimmers that do cling together and choke their art.” (Act I. Scene 2. Line 8-10. Page 162)
- Colloquialism – “Anon” (Act I. Scene 1. Line 10. Page 162)
- Juxtaposition – “So foul and fair a day I have not seen.” (Act I. Scene 3. Line 38. Page 165)
- Assonance – “A drum, a drum, Macbeth doth come.” (Act I. Scene 3. Lines 30-31. Page 165)
- Assonance – “Weary sev’ nights nine times nine shall he dwindle, peak and pine.” (Act I. Scene 3. Lines 22-23. Page 165)
- Polysyndeton – “A sailor’s wife had chestnuts in her lap and munched, and munched, and munched.” (Act I. Scene 3. Lines 4-5. Page 165)
- Isocolon – “Not so happy yet much happier.” (Act I. Scene 3. Line 66. Page 167)
- Foreshadowing – “O never shall sun that morrow see!” (Act I. Scene 5. Lines 57-58. Page 173)
- Simile – “But signs of nobleness, like stars, shall shine on all deservers. “ (Act I. Scene 4. Lines 41-42. Page 170)
- Aside – “The Prince of Cumberland! That is a step on which I must fall down, or else o’er leap for in my it lies stars hide your fires; let nit light see my black and deep desires; I wink at the hand; yet let that be which the eye fears when it is done to see.” (Act I. Scene 4. Lines 48-53. Page 170)
- Paradox – “Lesser than Macbeth and greater. Not so happy, yet much happier.” (Act I. Scene 3. Lines 65-66. Page 167)
- Synecdoche – “Noble Banquo, that hast no less deserved, nor must be known no less to have done, let me enfold thee and hold thee to my heart.” (Act I. Scene 4. Lines 29-33. Page 170)
- Metaphor – “True worthy Banquo; he is so valiant, and in his commendations I am fed; it is a banquet to me.” (Act I. Scene 4. Lines 54-56. Page 170.
- Rhetorical Question – “And yet are on ‘t? Live you? Or are you ought that man may question?” (Act I. Scene 3. Lines 41-43. Page 165)
- Consonance – “My thought whose murder is but fantastical shakes so my single state of man that function is smother in surmise and nothing is but what is not.” (Act I. Scene3. Lines 138-141. Page 168)
- Rhetorical Question – “Say from whence you owe this strange intelligence?” (Act I. Scene 3. Lines 75-76. Page 167)
- Personification – “But I am faint; my gashes cry for help.” (Act I. Scene 2. Line 42. Page 164)
- Apostrophe – “I come graymalkin.” (Act I. Scene 1. Line 8. Page 162)
- Atmosphere – “When shall we three meet again in thunder, lightning, or in rain? When the hurlyburly’s done, when the battle’s lost and won that will be ere the set of sun. Where the place? Upon the heath.” (Act I. Scene 1. Lines 1-7. Page 162)
- Conflict (with himself) – “We will proceed no further in this business; he hath honored me of late and I have bought golden opinions from all sorts of people which would be more now in their newest gloss, not cast aside so soon.” (Act I. Scene 7. Lines 30-35. Page 175)
24. Satire – “What beast was it then that made you break this enterprise to me?” (Act I, Scene 7, Page 176, Lines 49-50).25. Foil (Banquo balances Macbeth) – “But tis strange; and oftentimes to win us to our harm, the instruments of darkness tell us truths, win us with honest trifles, to betray’s in deepest consequence.” (Act I, Scene 3, Page 168, Lines 121-125).
26. Foreshadowing – “All hail, Macbeth, that shalt be king hereafter!” (Act I, Scene 3, Page 166, Line 50).
27. Alliteration – “This night’s great business into my dispatch, which shall to all our nights and days to come give solely sovereign sway and masterdom.” (Act I, Scene 5, Page 173, Lines 65-67).
28. Anastrophe – “Sleep shall neither night nor day hang upon his penthouse lid …” (Act I, Scene 3, Page 165, Lines 19-20).
29. Soliloquy – “They met me in the day of success; and I have learned by the perfectest report that they have more in them than mortal knowledge. When I burned in desire to question them further, they made themselves air, into which they vanished, Whiles I stood rapt in the wonder of it, came missives from the King, who all-hailed me ‘Thane of Cawdor’; by which title, before, these weird sisters saluted me, and referred me to the coming- on of time, with ‘Hail, king that shalt be! ….. “ (Act I, Scene 5, Pages 171-172, Lines 1-27).
30. Run-On Line - “Stars, hide your fires; let not light see my black and deep desires; the eye wink at the hand; yet let that be which the eye fears, when it is done, to see.” (Act I, Scene 4, Page 170, Lines 50-53).
31. Juxtaposition – “Look like the innocent flower, but be the serpent under it.” (Act I, Scene 5, Page 173, Lines 62-63).
32. Irony: "You should be women and yet y our beards forbid me to interpret that you are so." pg 166, Act I, Scene 2, lines 45-46
33. Metonomy: "Th temple-haunting martlet, does approve." pg 173, Act 1, Scene 6, lines 2-3
34. Colloquial:"Prithee, Peace." pg. 176, Act 1, Scene 7, line 46.
35. Simile: “And fortune on his damned quarrel smiling showed like a rebel’s whore.”Act 1, Scene 2, lines 14-15. Page 162-163
36. Metonymy: “Norway himself with terrible numbers assisted but that disloyal traitor…” Act 1, Scene 2, lines 50-51. Page 164
37. Inverted Syntax: “That seems to speak things strange.” Act 1, Scene 2, line 48, page 164.
38.Allusion: “Except they meant to bathe in reeking wounds or memorize another Golgotha, I cannot tell.” Act 1, Scene 2, lines 39-40, page 164.
39. Euphemism: “ He’s that coming most be provided for.” Act 1, Scene 5, line 6, page 173
40. Isocolon: “Look like the innocent flower, but be the serpent under it.” Act 1, Scene 5, lines 62-63. Page 173
41. Metonymy: “Golden round.” (Symbolizes a crown) Act 1, Scene 5, line 25, page 172.
42. Consonance: “My dearest partner of greatness, that thou mightst not lose the dues of rejoicing, by being ignorant of what greatness.” Act 1, Scene 5, lines 8-9, page 172.